Linn Sondek LP12D

Gramophones, 7" discs where manufactured as far back as 1894.
From 1918 countless companies produce them and they over took the popularity of
the cylinders. The play back speeds ranged from 60 to 120 rpm settling on 78 rpm
in 1925. The discs where made of shellac from 1898 until being replaced by vinyl
33 1/3 and 45 rpm records in the late 1950s. The LP was invented in 1948
allowing up to 30 minutes playing time on a 12" disc. Vinyl dates back to 1931.
The 7" single arrived in 1949.

The first stereo recordings where issued in 1958. These had to
be compatible with mono systems which still dominated the sales into the early
1960s with record players developing into music centres from the likes of
Dansette and Pye.

To reproduce the fidelity of the vinyl record people
began to buy separate turntables, amplifiers and speakers. The thinking at the
time considered that the speakers where of prime importance, then the amplifier
and the source last. Magazines often recommended a budget divided three ways.
Then, in 1972 Ivor Tiefenbrun of the Glasgow based scientific company threw out
that thinking and set out to proof that the most important component was the
source. Just as Rolls Royce made a better car simply by engineering the
technology to the highest possible standards the LP12D utilises a suspended
sub-chassis design and a patented single-point bearing machined to extremely
tight tolerances.

When the central part of the patter is lowered the massive
weight sinks down as if it where a feather. Many platters where rough
underneath, but the Linn has a completely balanced and a polished finish. The early
LP12D provided a single speed of 33 1/3 rpm and a platform for a third party
tone arm.

To play back 45rpm singles the platter had to be lifted and a
cylinder slipped over the pulley of the belt drive to increase the pulley's
diameter.

The LP12D today looks very much the same as the first model.
The changes in appearance are subtle with changes at the component level such as
rubber feet, baseboard, arm board, suspension springs and grommets and
reinforced plinth. The Valhalla (from 1982, as shown here, serial number 82187)
changed the power supply and since 1990 (series number 87600) the power supply
(Lingo) is external.

The Cirkus upgrade to the LP12 in 1993 improved bearing
performance. The Keel in 2006 is replacement subchassis machined from solid
aluminium and the Trampolin Mark 2 baseboard was made from MDF.

In 1978, having purchase a hi-fi system for my parents in 1974
and upgrades regularly there after, I set out to acquire a system of my own. I
read all the magazines, the articles, reviews and attended hi-fi shows. My
first system consisted of a
Cambridge P60 amplifier, a matching T55 tuner, a
Transcriptor Skeleton turntable with vestigial arm, an AKG P7E cartridge and a
pair of JR149 speakers which roughly divided the budget three ways. Whilst none
of these components were bad they were not performing together as well as they
could. The Transciptor could have performed better with a Ortofon VM30 cartridge
or a Decca London. The point system to suspend the record reduced static but
lack the bass when a GA glass mat was added.

I visited several Hi-fi shops. Graham's Hi-fi suggested I
bring along my equipment and arranged a one to one comparison with what they
suggested would make improvements. The first to be eliminated was the turntable
with the Linn and a competent but cheap cartridge easily out performing the
Transcriptor. It was then proved that the P60 did match the renown A&R P60 but
drove Kef 104 much better than they did the JR149s. The JR149s where then
powered by a Meridian 101 and 105 mono power amplifiers, the source being the
Linn Sondek. This proved to be a dream combination and the only time the JR149
sang to their best until the Meridian G55 arrived in 2009. The point was made
and after being suspended in the lift for 30 minutes whilst calls of help got
assistance to winch the lift back to floor level I returned home to investigate
further.

KJ Electronics allowed me to set up and rematch turntables,
amplifiers and speakers provided there where no other customers wishing to be
served. I freely switched between the leading cult manufacturers of Naim and
Meridian (amplifiers) , Meridian and Linn (speakers), SME, Grace, Hadcock arms,
Grado, Ortofon and Stanton cartridges and a range of turntables including Dunlop
Systemdek II, Thorens TD150, Mitchell's, Gale and direct drive decks from
Technics and JBL. I even used some seriously expensive equipment, several times
my annual salary.

It took many Saturdays to satisfy myself, with my own records,
which system combination I liked best. The consensus was to match Naim to Linn
Isobarik speakers with an all Linn source. In some ways I agreed, but on a wider
range of music the Meridian M1 gave the impact and punch that I felt the more
laid back and controlled Naim Linn did not. None of my friends or relatives
could hear any improvements or if they did could not justify the cost over the
budget Pioneer LP12D.

The Linn Isobariks speakers could be triamped with Naim or
Meridian power amplifiers. The Meridian speakers where active, a novel idea at
the time, but I became a firm fan. For me this proved the right choice.
The Meridian M1 keep their balance even at a whisper sound level and after
living with them for 30 years I have heard as good, but never better.

I first purchased the LP12D (£340) with the Asak cartridge
(£184) and Ittok tone arm (£230) in 1981. Lacking the funds to get an amplifier
with a moving coil input it was a while before the Meridian 101 (£192)
followed and that was upgraded to 101B mod. Then the Meridian M1 active speakers
arrived. The deal with the shop was that if I purchased all components from them
they would refund the cost of the cartridge. I also established with them and
Meridian that the cost of the M1 speakers would not rise during the following
few weeks, otherwise I would have gotten a loan. When I got my order through the
speakers where considerably more, £1510. I had not realised, as no one told me,
that these where the Mark II versions but the shop and manufacturer agreed in
response to my letters to split the difference between them. Thus I got a pair
of Mark II M1 at the old price. The final component was the Meridian 104
FM Tuners, £225.

In January 1990 I returned to Graham's Hi-fi and took my Linn Sondek for an upgrade. After less than a minute listening to the latest Sondek
(£579),
Ekos (£975) and Troika (£669) I determined that the upgrade would be worth while. The best
deal was for Graham's to purchase my Linn (£200+100+£58.85) and supply, for the odd couple of
grand extra, a complete new black ash Linn Sondek (shown above with the Meridian
101B and 104 tuner).

Although I am sure the later upgrades would make an improvement and I might even
be able to appreciate that improvement the higher cost is less justified over
the purchase of more music, which after all is why I have a hi-fi system at all.
The quality is such that I am not bothered if I can get better or not. Much of
the time the music is back ground and when I want to sit down and listen
seriously it delivers.

The Audio Files, in Cambridge serviced the Linn in 2008, a
modest cost and a replacement belt assures me of good service for years to come.